Supercharge your Inspections and Forms - Webinar
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The World in Deeper Inspection UPDATE
Read: (Chapter 1: Pages 1 to 4)
About the comic
TWIDI IS BACK!
To celebrate its 10th anniversary since launch, I'm remaking the first chapter and posting pages every Friday, accompanied by my thoughts on the original pages and a breakdown of what I've changed or improved.
Analysis under the cut.
PAGE 1 and 2
It’s March 31st, 2023… exactly 10 years since I posted the very first page of TWIDI!! I haven’t done much to celebrate TWIDI’s anniversaries the past few years (due to general Busyness – yes, yes, check out the forever “TWIDI isn’t dead” sign up on the front page), but the official 10th anniversary is a special unignorable event.
Initially I wanted to make a simple remaster of Chapter 1 – better copyediting, fixing egregious lettering and art errors, alongside a retrospective author’s note… then long-time reader Caracan suggested, why not do a full remake? That’d be fun to see. And I agree – it would be fun to see! I’ve grown my craft and sensibility as comics artist since TWIDI’s debut, and I was so curious to see how 28 Year Old Me would interpret the material that 18 Year Old me produced.
So yep!
This first page used to be so cool-looking to my 18 Year Old eyes… I can definitely see what I was trying to go for, but wasn’t quite able to reach then.
A thumbnail from 2013, with notes to myself regarding the composition. In my mind I wanted the wolves to have a James Jeanesque rendering – I was really into his Fables covers back then (still am tbh).
For the remake, I leaned further into the graphic-designiness of the composition: every element had to sweep the reader’s gaze down onto our protagonist. The wolves are expanded to actually take up half the spread and simplified down to only white lines. The trees and sky are shaped like teeth pointing down to Grimsley. The intent was to evoke a sense of claustrophobia, of the wolves catching up to Grims and driving him into a corner.
Small improvements: the energy and line of action are clearer with the new running pose. Definitely a better silhouette. And a lot more angularity with the limbs which adds to the sense of movement.
PAGE 3 and 4
This spread is one of the most drastic rehauls in the remake. Here’s the original for comparison
It’s not very good! (Sorry @ 18 Year Old Me) I remember struggling real hard with the dynamicism required out of this sequence…
Fortunately after 1000s of double-page compositions and 10 years of practice, I’ve finally cracked this once-difficult composition.
This new page does away with the concept of grids or caring about whether anything is read linearly. The sequence is supposed to evoke chaos and panic as everything is happening everywhere all at once, so it doesn’t really matter if everything can be read or arranged in a neat grid. That was the problem with the original spread: it was too beholden to the grid.
(You can see how in the original, each page was (top row: left to right; bottom row: left to right))
The new page is like this:
The page is horizontally railroaded. The main action sweeps from top left to bottom right.
The AWOOO sfx is the anchor which leads the eye from left to right. As the eye travels it may glance up or down at the panels – there’s no real need to pay attention to them; hopefully the improved clarity of Grimsley’s emotional and body acting + me actually depicting the wolf biting his neck + the spiky graphic design elements instantly conveys that he’s in trouble without much or any processing.
The newest panel – the pink grass and canine paws – is a call back for later when we catch up to this in media res.
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